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Click Effects Selects Vista Systems’ Spyder for Content Delivery Solution at Philadelphia’s Lincoln Financial Field

IMG_20140909_115203Vista Systems’ Spyder has become the image processor of choice for large professional sports installations implemented by Click Effects, whose line of powerful, dependable and cost-effective digital content delivery systems are designed to meet the demands of live sports environments nationwide. The most recent venue where Spyder plays a key role in Click Effects’ content delivery solution is Lincoln Financial Field, home of the NFL’s Philadelphia Eagles.

“Vista Systems’ Spyder is used in virtually every large professional project with displays over 1080p or with displays requiring multiple windows,” says Greg Stocker, managing director of the sports division of Click Effects. “We’ve worked on nearly a dozen projects in the past few years – all using Spyder, in conjunction with our Crossfire and Blaze video playback systems, to facilitate a level of visual sophistication that fans are accustomed to seeing on broadcast television.”

In addition to Lincoln Financial Field, sports venues featuring Spyder include Bank of America Stadium, home of the NFL’s Carolina Panthers; NRG Stadium (formerly Reliant Stadium), home of the NFL’s Houston Texans; Toyota Center, home of the NBA’s Houston Rockets; American Airlines Center, home of the NBA’s Dallas Mavericks and NHL’s Dallas Stars; EnergySolutions Arena, home of the NBA’s Utah Jazz; and EverBank Field, home of the NFL’s Jacksonville Jaguars.

The new installation at Lincoln Financial Field is believed to have the most extensive content delivery system of any pro sports venue. “We have more than 30 content delivery systems playing audio, video, graphics and data over all of the LED displays, digital signage and ancillary displays,” says Stocker. “If you include suite and concourse monitors there are over 1,000 displays.”

To accomplish that feat operators marshal Crossfire systems, with HDSDI output, and Blaze systems, with DVI output; ten Crossfires handle L-Bar custom advertising alone.

The LED displays, as well as the digital signage and ancillary displays, are so large that three Spyder X20 1608s are used. Content delivery includes live feeds, replays, animations, stats, advertising and crowd motivational videos.

“Spyder enables users to put multiple sources over the huge displays in one canvas,” Stocker explains. “It also facilitates synchronous playback, including on suite and concourse displays, to completely envelop fans in ‘moments of exclusivity,’ such as a touchdown. And it’s all done with very smooth transitions and production values that approximate what fans see on the broadcast networks.”

Before Lincoln Financial Field’s installation came online Click Effects’ most ambitious pro sports project was Houston’s NRG Stadium where “as many as eight to ten sources feed a display that’s nearly 200 feet wide,” says Stocker. “Spyder creates numerous windows then goes to a full-screen replay or animation. Spyder transitions smoothly to reveal stats, advertising and live video.

“We’ve worked with half-a-dozen different multi-window scalers over the years and nothing has been remotely as powerful and reliable as Spyder,” he continues. “The number of layers it handles and how they’re manipulated, the ability to scale effortlessly – these are all hallmarks of Spyder. Nothing can match its reliability, power and transparency of integration with other content delivery systems.”

Click Effects also considers Spyder to be the go-to image processor for college sports installations. “Spyder is also a great choice for college venues,” Stocker reports.

This fall at LSU’s Tiger Stadium in Baton Rouge a single Spyder X20 1608 is working in combination with more than ten Crossfire and Blaze systems to drive the big LED display. “They’re getting the kind of broadcast looks they were unable to achieve before,” he says.

And at the University of Tennessee in Knoxville a Spyder is part of new centralized control for the inhouse TV station where it teams with Crossfire and Blaze systems to drive content to a high-density LED wall.

Click Effects is a division of Sound & Video Creations, Inc. in Nashville.

About Vista Systems
Vista Systems’ switchers have become the industry standard for live multiple-destination video and data mixed signal switching with real-time windowing and composition. For more information on Vista Systems, visit their website at www.vistasystems.net.

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FUJINON Lenses Capture U.S. Open Tennis Action During F&F Productions’ GTX-17 Mobile Unit Debut

Mobile production company orders 17 new FUJINON HDTV lenses to meet growing business demands; Total of 29 FUJINON lenses ordered this year

Wayne, N.J. – To deal with recent record-breaking business—including several major sporting events this past month —Clearwater, FL-based F&F Productions pushed its HD mobile fleet to the limit with help from its arsenal of FUJINON lenses from the Optical Devices Division of FUJIFILM North America Corporation. Following up on the company’s order of 12 lenses earlier this year, F&F Productions placed an order for 17 new FUJINON US Open FUJINON Lenseslenses, including nine XA99x8.4 ultra-wide field lenses, four HA18x5.5 ENG wide-angle lenses, and four HA23x7.6 telephoto ENG lenses, bringing the total number of FUJINON lenses it has ordered over the last four months to 29 units.

While the lens order made earlier this year was part of an overall camera/lens purchase for the GTX-15 mobile unit as well as F&F’s pool US Open FUJINON Lensesinventory, the new order was specifically for the company’s new GTX-17 mobile unit. The GTX-17 made its debut at the U.S. Open Tennis Tournament held in Flushing, New York earlier this month.

“The FUJINON 99x’s allow the operator to pull wider than other lenses, while still preserving the desired focal length,” said George Orgera, President/CEO of F&F Productions. “This is of great value to our sports and entertainment clientele. In general, during live TV productions, where failure is not an option, we’ve always counted on FUJINON as our go-to lenses because of their exceptional imaging quality and reliability.”
In addition to the U.S. Open, F&F’s GTX Signature Series Fleet has served as the production US Open FUJINON Lenses-2facilities for CBS’ SEC package and ESPN College Football.

“In our experience, FUJINON lenses have proven to be up to the challenges US Open FUJINON Lenses-2posed by arduous, long-distance road trips between events and the rigors of live broadcast television production in all types of places and weather conditions,” Orgera said. “We couldn’t have met the demands of such a busy month without the flawless performance of our trucks and FUJINON lenses.”

Earlier this year, from April 5-8, 2014, three F&F HD trucks were busy covering the 2014 NCAA Men’s Final Four championship basketball game. At the successful conclusion of that job, the mobile units then drove directly to the Bank United Center, in Miami to work at the 2014 Billboard Latin Music Awards, which aired live on Telemundo on April 24, 2014. Things really heated up when F&F Productions was hired to provide mobile production services for the 2014 IIFA (International Indian Film Academy) Awards festival. Held concurrently with the Billboard Latin Music Awards, the IIFA Awards festival was a star-studded event, from April 24-26, 2014 in Tampa, watched by close to 800 million viewers worldwide.

About Fujifilm
FUJIFILM North America Corporation, a marketing subsidiary of FUJIFILM Holdings America Corporation consists of four operating divisions and one subsidiary company. The Imaging Division provides consumer and commercial photographic products and services, including: photographic paper; digital printing equipment, along with service and support; personalized photo products; film; and one-time-use cameras; and also markets motion picture archival film and on-set color management solutions to the motion picture, broadcast and production industries. The Electronic Imaging Division markets consumer digital cameras, and the Graphic Systems Division supplies products and services to the graphic printing industry. The Optical Devices Division provides optical lenses for the broadcast, cinematography, closed circuit television, videography and industrial markets, and also markets binoculars. FUJIFILM Canada Inc. sells and markets a range of Fujifilm products and services in Canada. For more information, please visit www.fujifilmusa.com/northamerica, go to www.twitter.com/fujifilmus to follow Fujifilm on Twitter, or go to www.facebook.com/FujifilmNorthAmerica to Like Fujifilm on Facebook. To receive news and information direct from Fujifilm via RSS, subscribe at www.fujifilmusa.com/rss.

FUJIFILM Holdings Corporation, Tokyo, Japan brings continuous innovation and leading-edge products to a broad spectrum of industries, including: healthcare, with medical systems, pharmaceuticals and cosmetics; graphic systems; highly functional materials, such as flat panel display materials; optical devices, such as broadcast and cinema lenses; digital imaging; and document products. These are based on a vast portfolio of chemical, mechanical, optical, electronic, software and production technologies. In the year ended March 31, 2014, the company had global revenues of $23.9 billion, at an exchange rate of 102 yen to the dollar. Fujifilm is committed to environmental stewardship and good corporate citizenship. For more information, please visit: www.fujifilmholdings.com.

Mackie DLM Helps Austin-Bergstrom International Airport Keep Travelers Entertained

 Austin, TX – October 2014… Widely regarded as “The Live Music Capital of the World,” Austin’s buzzing local scene is heightened by the notoriety of festivals like South By Southwest, and popular shows like “Austin City Limits.”

Austin boasts literally hundreds of live music venues, but one stands out as particularly unique. With more than 10 million people passing through its gates every year, Austin-Bergstrom International Airport is often the first and last live music venue visitors to the city see and hear. The audio is powered by a Mackie DLM system installed at the Main Terminal’s Asleep At the Wheel Stage at the Ray Benson Roadhouse.

“There has been music here in the airport since it opened 15 years ago,” explains Michael Pennock, who oversees the music and audio at Austin-Bergstrom Airport. “We have six venues and 23 shows a week. The Ray Benson Roadhouse is our busiest venue.”

The Roadhouse’s Asleep At the Wheel Stage features two Mackie DLM12 12-inch full-range powered loudspeakers, along with four DLM12s for stage monitoring. The entire system is connected to a Mackie DL1608 16-channel digital live sound mixer with iPad control.

The Mackie DLM12 delivers 2,000 Watts of Class D amplification, powering a custom-designed 12-inch woofer and 1.75″ HF compression driver. As Pennock points out, the extra power translates into better performance without having to push the system too hard.

 “Initially, we had other speakers installed on a truss above the stage, and there was a lot more sound spilling over to the gates,” said Pennock. “With the DLM12s, we’re able to focus the sound and get better coverage with virtually no bleed. It’s been a great improvement and we get a lot of compliments from the performers on the sound.”

As Pennock observes, one of the major challenges in operating a live music venue in the middle of a busy airport is maintaining control over the sound to ensure the music does not overpower the airport’s paging system. The ability to control the 16-channel DL1608 via iPad empowered the airport’s audio crew to easily stay on top of the challenge.

“On either side of the Ray Benson Roadhouse, there are two Southwest airline gates,” says Pennock. “With the DL1608s remote iPad control, we can actually walk over to the gates while the band is playing, check volume levels with the airline personnel, and adjust from the iPad on the spot if needed.”

The DL1608 six aux sends handle more than enough monitor mixes, and support for up to 10 wireless iPad connections makes it easy for both crew and performers to dial in exactly what they need.

Besides just being a great sounding mixer, Pennock says the DL1608’s iPad integration has brought other benefits as well. “Since moving to iPad control, we not only have better communication with the airlines, we’ve got a better sounding mix, and we’re able to get just a little bit louder too. The amount of control the DLM loudspeakers and DL1608 mixer provides is an absolute blessing in this kind of application.”

 

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About Mackie - Mackie, a LOUD Technologies Inc. brand, is known worldwide as a leading developer and marketer of high-quality, affordable professional audio systems. Mackie products can be found in professional and project recording studios, video and broadcast suites, post production facilities, sound reinforcement applications including churches and nightclubs, retail locations and on major musical tours. For more information visit: www.mackie.com.  

Mackie is a registered trademark of LOUD Technologies Inc. in the United States, European Union and other countries. All other trademarks are the property of their respective owners.

   

 

 

 

 

 

 

 

IsoAcoustics Introduces Arista Isolation Stands for Studio Monitors and Speakers

Arista Sep18 2014

Los Angeles, CA (Sept 23, 2014) —At this year’s AES Show in Los Angeles, IsoAcoustics (booth #1651) is pleased to introduce Arista, a stylish and sleek new aluminum acoustic isolation stand for medium-sized professional studio monitors and bookshelf speakers for Home Entertainment and hi-fi applications.

The new Arista stands provide an aesthetically pleasing and cost-effective means to markedly enhance the sound clarity of speakers, using the patented “floating design” that this award-winning company has become known for.

The new IsoAcoustics Arista stands feature a unique integrated tilt adjustment that enables the user to dial-in the optimum tilt angle. With an overall size of 6”(w) x 7.5”(d), the Arista stands are designed for medium size studio monitors and speakers weighing up to 35 lbs.

“IsoAcoustics is very pleased to introduce the Arista stand, which offers a handsome and cost-effective isolation solution for the pro studio and hi-fi market,” says Dave Morrison, CEO of IsoAcoustics.
The Arista stand will be available in black and aluminum in December 2014.

See the new Arista and IsoAcoustics entire line of award-winning acoustic isolation stands at booth 1651 the AES Show at the Los Angeles Convention Center, October 10-12, 2014.

About IsoAcoustics Inc.
IsoAcoustics stands provide superior acoustic isolation and enhance the sound clarity of virtually all speakers and amplification systems, including monitors for the professional studio and sound reinforcement, home theatre systems, musical instrument amplifiers, subwoofers and large monitors. AlI IsoAcoustics stands are built with a unique, patented isolation technology that allows speakers to float in free space, resulting in authentic, clear uncolored sound.

For more information, visit www.isoacoustics.com.

Yamaha Audioversity – Applications Edition Headed to ChiTown

audioversity_logo

Buena Park, Calif.—Yamaha Commercial Audio Systems, Inc. is heading to Chicago with an Applications Edition for Sound Reinforcement/Live Sound of the ever-popular Audioversity, November 3-5, 2014. The company has reformatted the learning experience for a limited time held over three days and consisting of three tracks, with each day focusing on a specific subject. Day 1 will focus on Digital Mixing Consoles for Sound, Day 2 – Digital Audio Networking, and Day 3 – Speaker Systems. Attendees will be eligible to receive CTS credits for each of the three-day sessions.

The Mixing Consoles track on Day 1 will focus on the latest in the Yamaha digital console family – CL and QL Series. Subjects will feature the essentials of the two series, mixing techniques, tips and tricks, and a mixing lab offering attendees hands-on time with assistance from our specialists. You may choose the CL or QL Series track depending on preference Learning material will be consistent in both tracks. A unique course for system techs covering Dante™ networking, Soundcheck Best Practices, Guest/User Management, and much more. For more information and to register, visit https://www.yamaha.com/ycas/training/registration.html?classdate_id=794&course_id=151.

Day 2 focuses on building networking skills applicable for audio engineers. The day will start with fundamentals in the context of a common home network, and expand into features required for full scale Dante™ network provisioning and configurations. Participants will learn by doing with live demonstrations and interactive labs. Popular and thought provoking topics include: Integrating Audio Networks with Existing IT Networks (Including WiFi points and Internet Access), Adding Dante™ to Existing Audio Networks (CobraNet®/EtherSound™), employing Dante™ as a clear, low-latency conferencing solution, using Dante™ for distributed audio or connecting overflow rooms, choosing network switches, WAPs, and other hardware for audio networks. For more information and to register, visit https://www.yamaha.com/ycas/training/registration.html?classdate_id=795&course_id=152.

Day 3 will feature speakers and systems including product listening demos, applications, and the latest in design software. New NEXO products – the GEO M6 Compact Sound Reinforcement System and the versatile STM M28 loudspeaker will be highlighted along with various STM ground-stack configurations. For more information and to register, visit https://www.yamaha.com/ycas/training/registration.html?classdate_id=796&course_id=153.

“Since its inception in 2010, the Audioversity Expo has provided complimentary education to thousands of audio professionals,” states Marc Lopez, Marketing Manager, Yamaha Commercial Audio Systems, Inc. “This one-of-a-kind event is truly a unique offering unlike any other.”

Audioversity – Applications Edition is free-of-charge and open to members of the audio community. Attendance is limited and seats will be filled quickly so register for the tracks at the links above.

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About Yamaha Commercial Audio Systems, Inc.:
Yamaha Commercial Audio Systems, Inc. (YCAS) provides a full line of professional audio products offering complete systems solutions for the sound reinforcement, touring, broadcast, commercial recording, and post-production markets with a complete line of digital mixers, amplifiers, speakers, processors, networking capabilities, and NUAGE Advanced Production DAW System. YCAS is also the official North American distributor for NEXO speaker products. With the new CIS Series that includes ceiling and surface mount speakers, mixer and power amplifiers, and matrix processors, the Company furthers is commitment to their commercial installation solutions customers. All market sectors receive comprehensive in-house/field product training, a dedicated dealer network, and 24/7 technical support.

Rally Racing Film Lights Challenging Forest Track with Zylight F8 LED Fresnel

LOS ANGELES– For his graduation film, cinematographer student Sverre Sørdal, who is training at the National Film and Television School (NFTS) in Beaconsfield, U.K., did not take the easy road. Instead, he shot a film about rally racing on a track in the middle of the forest with a very tight shooting schedule and very unpredictable lighting.

Directed by Nick Rowland, Group B is named for the rallying era of the 1980s. The narrative follows Shane, who is returning to the track after aRally Racing-1 major accident, and explores his fears of getting back into racing while trying to find trust in his newly assigned navigator. Rowland and Sørdal previously collaborated on Slap, which received the Virgin Atlantic Little RedRally Racing-1 Award for Best Short Film at the Edinburgh International Film Festival in June.

Principal photography on Group B was five days on a rally track in the Welsh forest, with an additional day of shooting at Beaconsfield Studios. The production crew rented two daylight (5600K) balanced Zylight F8 LED Fresnels from Greenkit, a London-based film lighting rental company. “They are a great lamp to have in my rental stock, as they look great, perform really well and are very portable,” said Pat McEnallay, founder.

The forest location provided plenty of shooting challenges. “Trying to keep consistency was my main worry,” Sørdal recalled. “Our crew and budget were very limited. We split up scenes across multiple days, so we had to move quickly and try to be ready when the sun was. We had a little 6K generator for emergencies, but we did not use it much because we had the Zylights powered with batteries.”

Originally, the plan was to shoot on 35mm film, but the creative team eventually settled on the ARRI ALEXA for most of the shoot. “Luckily, we were helped by Tiffen getting some Black Satin filters that helped us achieve something a bit different,” Sørdal said. Most moving in-car footage was shot with an Iconix HD-RH1 mini-HD camera and RED EPIC, with some aerial footage captured with the Blackmagic Cinema Camera.

“At times when the light was changing at the end of the shooting days, I always brought out the Zylights to keep the consistency and to give some definition,” said Sørdal. “I also found the quality of light to be very good. Mixing it with daylight worked very well.”

Sørdal appreciated the convenience of the battery-powered F8s when compared to lights Rally Racing-2that needed to be connected to the generator, which would then have to be positioned far away so it would not Rally Racing-2interfere with audio for the scene. “We used the F8s handheld on some moving shots – and not having to worry about cabling was very convenient,” he added. “They were light enough to hand-hold over a long period of time, but still had enough weight so you felt you had control, which actually is quite important.”

For one complicated shot, Sørdal wanted to have Shane reflected in the wing mirror as the dust engulfed the image. “We had very little space and time to get the shot, as the light was going quickly,” he said. “While I was trying to figure out how to get the right exposure, our lead gaffer had placed two Zylights just out of shot. There was no real space on the right side of the car where the light had to be placed, but with the very slim profile of the F8s, he managed to get away with it. We had no generator ready on this location, so without them, I’m not sure how we would have managed to get the shot.”

The F8s were also a “blessing” during a night shot while sitting in the back of a van with a Steadicam. “At one point, we had to get out of the car and follow our lead actor further. My spark was sitting in the van with one of the Zylights rigged with handles to give some ambient light, so we could see him running through the forest road,” Sørdal said. “There was no way we could have achieved the same result without a light rigged on batteries.”

Group B is scheduled to premiere at the British Film Institute in February 2015, and Rowland and Sørdal plan to submit the film to film festivals later in the year. “For this project, the F8s were absolutely perfect,” Sørdal noted. ”I will always try to keep a few Zylights up my sleeve because they proved to be excellent.”

ABOUT ZYLIGHT LLC
Founded in 2003, Zylight LLC is the leading manufacturer of intelligent LED lighting instruments for the film and video production industry. Every model in its easy-to-use lighting system produces fully calibrated bright white light, while some also provide a spectrum of adjustable colors without gels. Full wireless control and DMX integration are included, and AC or DC power options are available. The Zylight state-of-the-art LED system is truly the most unique and flexible lighting system on the market today. With more than 50 dealers worldwide, Zylight continues to develop innovative LED lighting solutions to help make your job easier. More Than Bright – Zylight. Find out more at www.zylight.com.

James Blunt Chooses HARMAN’s Martin Professional to bring his “Moon Landing” World Tour to Life

MartinPro_JamesBluntAARHUS, Denmark — James Blunt, alongside his Production Designer Paul Normandale and Lighting Director Glen Johnson, are on the road for another tour with HARMAN’s Martin Professional lighting fixtures, including 41 MAC Auras, 32 MAC Viper Profiles, six MAC Viper AirFXs and two AF1 Fans.

Blunt released his newest album in October of 2013 entitled ‘Moon Landing’, which features an emotional and powerful side to the singer-songwriter we have not yet seen. The album is personal and intimate, reflecting back to where Blunt got his start and where he is now.

“We have worked with James Blunt since 2005, this is our fourth world tour with him, and all James’ shows have been dominated by Martin moving lights,” Said Johnson. “This is the largest production we have taken out on the road thus far.”

The theme of the tour is the romanticism and loneliness of the moon landings. For Normandale, this was a fun challenge. “My thoughts and vision with the lighting design were inspired by the lunar landing theme. That is where the idea of landing craft risers and panorama of the lunar planet LED screen came from,” explained Normandale.

“The Viper Profile has great color speed for snap chase,” said Normandale. “The optics and reliability of the fixture over this past year has been staggering. I don’t think we have swapped even one Martin fixture yet. The Viper Profiles have become the standard profile workhorse, with great gobo options and a fantastic color speed on the color wheel.”

“The MAC Viper AirFX has great zoom optics,” said Johnson. “It’s a great all-around fixture. I could do the whole show just with these.”

“I love the Viper Air FXBeams,” said Johnson. “They have become a great addition to the Martin range and filled a gap that Martin had. They work really well and have produced some fantastic aerial looks over the audience. The Aura I think I can say is Normandale’s favorite LED wash fixture as they seem to feature on nearly everything he does.”

The Moon Landing World Tour started in December 2013 in China and will run until spring 2015, making its way through North America, Europe, Africa and South America.

As a world leader in the creation of dynamic lighting solutions for the entertainment, architectural, and commercial sectors, Martin lighting and video systems are renowned the world over. Martin also offers a range of advanced lighting controllers and media servers, as well as a complete line of smoke machines as a complement to intelligent lighting. Martin operates the industry’s most complete and capable distributor network with local partners in nearly 100 countries. Founded in 1987 and based in Aarhus, Denmark, Martin is the lighting division of global infotainment and audio company HARMAN International Industries. For more information please visit: http://www.martin.com.

HARMAN (www.harman.com) designs, manufactures and markets premier audio, visual, infotainment and integrated control solutions for the automotive, consumer and professional markets. With leading brands including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon® and Mark Levinson ®, the Company is admired by audiophiles, musicians and the entertainment venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of approximately 16,000 people across the Americas, Europe, and Asia and reported sales of $5.3 billion for the twelve months ended June 30, 2014.

WorldStage Goes Underground for “Dive” Immersive Art Installation for Summer Streets 2014

The New York City Department of Transportation’s Summer Streets 2014 arts festival once again turned Manhattan’s Park Avenue pedestrian tunnel into an immersive art experience with help from WorldStage, which provided audio and lighting support for Norwegian artist’s Jana Winderen’s sound installation, “Dive.” Last year WorldStage teamed with NYCDOT and artist Rafael Lozano-Hemmer on “Voice Tunnel,” the first time in history that an artist transformed the utilitarian space on Park Avenue between 33rd and 40th Street.

“We were excited to work with WorldStage last year, and when we decided to do a new project we came straight to WorldStage,” says Emily Colasacco, director of urban art/Summer Streets at NYCDOT. “The tunnel is such a challenging space: The exhibit was from 7 am to 1 pm on three Saturdays in August and had to be set up overnight and disassembled in the afternoon to open the tunnel back up to vehicular traffic. Then there was the additional challenge of how to create an intense sound piece in a space that echoes. We had to balance that intensity with allowing participants to talk.”

Jana Winderen has worked as an artist, curator and producer since 1993. She has researched the hidden depths of the world using the latest technology to reveal the complexity and strangeness of the unseen world beneath. She focuses on finding and revealing sounds from otherwise inaudible natural habitats and creatures.

The subterranean tunnel was a perfect venue for “Dive,” which featured sounds of crustaceans, fish and mammals recorded by Winderen in shallow to deep underwater environments from Greenland to Thailand and beyond. Those sounds mixed with lapping waves and man-made noises from boats and seal-scaring devices. The public explored eight habitats of sound diving deeper and deeper into the tunnel, which was bathed in evocative blue light.

“We are not used to listening underwater,” says Winderen, “so this offered a new and unique experience in a very special place. The space gave people room for concentrated listening. When I saw the tunnel I thought it was a great way to dive into the unknown.”

The artist says that it made sense to partner with WorldStage on the project “because they had the experience” of working in the tunnel last year. “They knew how to bring in power and [deal with] security issues. They knew how to help solve problems and make my ideas a reality.”

WorldStage provided 64 Meyer UPM-1P Compact Loudspeakers, 16 Meyer 500-HP Compact High Power Subwoofers and RedNet PCIe cards in external Thunderbolt Chassis for the signal audio control installation. WorldStage audio system designer Kate Brown once again integrated the sound system working with Winderen and Professor Tony Myatt, who designed and programmed the audio system to play in 3D spatial sound.

“WorldStage set up a demo room and an 25% scale mock-up in their New Jersey shop where I could work with the sound files and Tony did tests,” says Winderen. “WorldStage was totally great in all ways – very professional and friendly. They facilitated the job, helped us get the speakers we wanted and found the positions for them.”

Lighting also played a key role in creating the tunnel’s underwater atmosphere. Fixtures consisted of 100 Color Kinetics Color Blasts and 100 Astera wireless LED PARs, which supplemented 30 high-output LED fixtures provided by NYCDOT and the 12 high-output sodium fixtures – the regular tunnel lighting – that were gelled to match the WorldStage units.

“WorldStage came up with a blue light that worked – that was the right color and intensity,” says Colasacco. “Light was there to support the sound and reflect diving underwater and going deeper and deeper. Although the lighting was static it varied slightly in color.”

Terry Jackson, WorldStage vice president/director of lighting, says the company “definitely didn’t want to mimic last year’s tunnel lighting so we lit the installation with all LED fixtures and played with intensity, slight movement, fixture placement and color – all while maintaining the NYCDOT-approved level of light for general public safety.”

Colasacco sums up the WorldStage experience as “amazing. Terry was just phenomenal, so were Daryl [Carmen] and Erik [Perry]. The whole team was my team – all working together with the same purpose as part of the creative. WorldStage is always willing to jump in and do what needs to get done – and they can do pretty much anything. We would work with them in a second on any project.”

Winderen echoes that sentiment and adds, “I can’t think of anything that hasn’t been great!”

At WorldStage Dennis Menard was senior project manager, Daryl Carmen production manager, Michael Kacunel audio A1, Alison May lighting director/programmer and Erik Perry senior project manager/lighting. IATSE Local One provided the crew labor.

WorldStage Inc., the company created by the merger of Scharff Weisberg Inc and Video Applications Inc, continues a thirty-year legacy of providing clients the widest variety of entertainment technology coupled with conscientious and imaginative engineering services. WorldStage provides audio, video and lighting equipment and services to the event, theatrical, broadcast and brand experience markets nationally and internationally.

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Doha Airport is Covered with ICONYX as Far as the Eye Can’t See

Doha, Qatar – September 2014…. Hamad International Airport covers nearly a third of the city of Doha, with more than half of the airport’s. 29 sq km (11 sq miles) reclaimed from the Arabian Gulf. Its state-of-the-art passenger and cargo facilities will serve more than 30 million passengers and 1.4m tons of freight per year.

Technology for the airport is equally impressive, including an RFID baggage handling system, high-tech air traffic control and radar systems, and a cutting-edge public address system based around Renkus-Heinz ICONYX digitally steerable line array loudspeaker systems.

The system includes 208 IC8-R, 30 IC16-R, five IC24-R, and two IC32-R loudspeaker columns, all networked to provide individual control of each individual unit. Strikingly, not a single one of the 245 speaker columns installed throughout the facility is visible to the naked eye.

“All the loudspeakers are hidden,” explains Renkus-Heinz Middle East Sales Manager Norbert Bau. “They have all been flush mounted and concealed behind grilles, or they have been integrated into custom-designed stainless steel pillars. It’s an architecturally stunning facility and the best Iconyx installation I’ve ever seen.”

Much of the credit for this impressive installation goes to the contractors, Consolidated Engineering Systems Co (CESCO), and subcontractors H. Robert Guild Associates, Inc (HRGA). “The system was designed by Acoustic Design Ahnert (ADA Gulf), and the entire installation was performed by CESCO, who brought in Robert Guild of HRGA to provide the experience and expertise for this very high-profile project,” Bau observes. The project also included a massive IED announcement control system and thousands of small ceiling speakers for the voice alarm system. Testing and commissioning the system was performed by HRGA, with support from Renkus-Heinz application engineers.

While the project has not been without its challenges, Bau points to good planning as an indispensible factor. “The design of the sound system was seriously considered when designing the airport. And ADA Gulf convinced the architect to apply acoustic treatment so the acoustic conditions are very good – it sounds very dry.”

Since opening its doors to passengers, Hamad International Airport is quickly becoming an international hub, providing the air travel capacity the city of Doha has been sorely needing, with a sound system that will clearly and intelligibly serve millions of passengers for years to come. As Norbert Bau concludes, “it is an impressive system for a very impressive airport.”

 

 

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About Renkus-Heinz  - Headquartered in Foothill Ranch, California, Renkus-Heinz, Inc. is the worldwide leader in the design and manufacture of audio operations networks, digitally steerable arrays, powered and non-powered loudspeakers, system specific electronics and fully integrated Reference Point Array systems.

MIRA Mobile M-12HD and SportsNet LA Capture High-Quality Close-Ups, Panoramic Shots and Night-time Slo-Mo With FUJINON Optics

Wayne, N.J. – When MIRA Mobile’s new M-12HD rolls into Dodger Stadium on behalf of MIRA customer, SportsNet LA, it does so with shot-capturing skills that rival the speed and focus of any Cy Young Award winner. Four of the truck’s six FUJINON XA99x8.4 ultra-wide field lenses outfitted on Sony HDC2570 studio cameras are positioned at various points on the field – high left field, mid first base, tight center field, and right field. One XA99x mans the high third base position placed on an I-MOVIX ultra-slow-motion system, provided by Fletcher Chicago. M-12 is also equipped with four XA77x9.5 telephoto field lenses.

(On August 29th, NEP announced that they have closed on their acquisition of the assets of MIRA Mobile Television. Per the deal, MIRA’s ten HD mobile units have joined NEP’s fleet, and MIRA’s engineering and support staff have become part of NEP’s team. The completion of this deal greatly expands NEP’s fleet of mobile units, which now includes over 80 HD trucks around the world.)

MIRA Mobile’s M-12 is used by SportsNet LA for production of the Dodger’s home games and the team’s away games on the West coast. During the baseball off season, M-12 stays busy covering west coast NCAA football, basketball, and other events for MIRA customers such as ESPN and the Pac 12 Networks.

“The 99x allows us to get the most intimate shot from across the entire stadium,” said Dustin Denti, Director, SportsNet LA. “They allow our camera operators to get that extra zoom when they need to shoot between two players on the field without looking awful. And they work in conjunction with the Sony camera beautifully. The colors are amazing.”

The versatility of the XA99x is most apparent at the high left field position, where the camera shoots down the third base line. From that remote position, the operator can follow the ball from its initial contact with the bat to a home run ascent over the fence. With a focal length range of 8.4-832mm, the ultra-wide angle lens provides camera operators at Dodger Stadium the ability to capture a fully panoramic image.

Speaking of the XA99x, Stuart Wesolik, Senior Video Engineer, SportsNet LA said, “We have not had a lens like this in this market in quite some time. Primarily, I like the pairing of the Sony 2570 with the 99x for the combined speed. Using a different cameras and lenses last season we were shooting at about an f4.0. This season we shot at about f8.0. There is very little drop off on the end of the lens.”

Speed is most a factor when capturing instant replays with the I-MOVIX variable frame rate camera and XA99x lens at the high third base position. “Even at night, because the 99x is so fast with its light transmission, they’re able to run the camera at a higher speed and get amazing, high-quality slow motion,” reported Frank Coll, Director of Operations and Business Development, MIRA Mobile. “In the past with a lens that wasn’t so fast, you’d have to bump the shutter back, and you couldn’t get the great frame rate on the slow motion system. A video operator using the same camera a Dodger Stadium last year with a different lens said this year’s combination is like night and day.”

Coll also points to the new technology of the lens and its lightweight design as tools enabling operators to be more creative than they have in the past. “This lens is a lot more refined than earlier generation HD lenses. It has super fast light transmission and it’s lightweight. It has a far-reaching telephoto capability yet can also capture wide, panoramic shots. It gives our customers a lot of versatility in one lens. Camera operators really seem to enjoy working with the XA99x. It opens up their ability to be more creative in their shot selections.”

“We’re thrilled with all of the feedback we’ve received from our long-time customer MIRA Mobile and their client SportsNet LA on the performance of our XA99x lens on MIRA’s newest M12 truck for the LA Dodger games,” said Thom Calabro, director, marketing and product development, FUJIFILM North America Corporation, Optical Devices Division. “The team at SportsNet LA are truly pushing the limits of what’s possible in live sports coverage. We’re proud to be a part of their very dynamic productions.”

About FUJIFILM North America Corporation
FUJIFILM Holdings Corporation, Tokyo, Japan brings continuous innovation and leading-edge products to a broad spectrum of industries, including: healthcare, with medical systems, pharmaceuticals and cosmetics; graphic systems; highly functional materials, such as flat panel display materials; optical devices, such as broadcast and cinema lenses; digital imaging; and document products. These are based on a vast portfolio of chemical, mechanical, optical, electronic, software and production technologies. In the year ended March 31, 2014, the company had global revenues of $23.9 billion, at an exchange rate of 102 yen to the dollar. Fujifilm is committed to environmental stewardship and good corporate citizenship. For more information, please visit: www.fujifilmholdings.com.

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